If one is thinking of making
an art purchase, where does one start? I have gathered information
which you may find helpful. It is designed to answer some of the
questions that we as artists are asked. Please feel free to contact
me if there is additional information which I may provide to you.

Original
PaintingsWhat
Medium?Two-dimensional originals
can be presented in several different mediums: oils; acrylic;
watercolor; gouache; pastel; pencil; inks; scratchboard, and tempura.
(Woodcut prints and silkscreens may be considered originals as
each may be individually created by the artist.)

Of the 3 major groups (oil,
acrylic, and watercolor), watercolor tends to be the least expensive.
This has always puzzled me as the artist uses just as much creativity,
and I find it the most unforgiving of the mediums. (As a note,
gouache is a fast-drying opaque watercolor, giving it the drying
of a watercolor and the depth of an acrylic.) Art created in oil
tends to sell for the highest of the three although lately the
distinction between oil and acrylic has lessened.

Acrylic is a water-based
paint, more opaque and slower drying than a watercolor. Many artists
are using this medium rather than oil because it is faster drying
than oil and does not require solvents for diluting or clean-up.
In addition, ventilation of the studio is not as critical and
acrylics travel better in the field. The finished surface of acrylics
is also non-porous. A disadvantage to acrylic is it will crack
if subjected to below freezing conditions so care in winter should
be considered. There is a recent trend of underpainting oil paintings
with acrylics. According to Ross Merrill (chief of conservation
for the National Gallery of Art in Washington, D.C.) the smooth
non-porous surface of an acrylic underpainting "makes the
long-term bonding of oil paint tenuous at best, although it may
adhere for a few years."
(Quoted from Making Art That Lasts, The ARTISTS Magazine,
July 1998.)

Oil is the "classic"
medium. It is not any better than the others, but does provide
its own unique characteristics. It is the slowest drying of the
three main mediums and it is considered not fully "cured"
enough to varnish and seal for at least 6 months after the painting
has been completed. Clean-up requires turpentine and the better
paints usually have a linseed oil base. The main disadvantages
to oil are the
clean-up, greater transportation problems for field work, and
solvents in the studio. However, I have found the advantages outweigh
the disadvantages. The luminosity and depth of color, the given
longevity of oil, and the blending ability of oil are all for
me unmatched in any other medium. (New water-based oils have come
out in the 90's. Maybe Im just a purest, but I am concerned
about the life of the paints and whether some of the oils
luminosity will be lost without the oil base.)

The are several types of
surfaces on which originals can be painted: canvas, panels, and
paper are the three main groups.

Most of us are probably
most familiar with canvas for oil and acrylic paintings. Linen
canvases provides the greatest stability of the natural fiber
canvases although a long-fiber cotton is also a good product.
The new nylon and polyester fiber canvases may increase in use
as artists look for supports which wont change with varying
levels of humidity.

Of the panel choices, there
is solid wood, plywood and hardboard (Masonite being a brand -name
hardboard.) Hardboard is the most stable of the three although
tempered hardboard can create adhesion problems for water based
paints and can bleed or stain even oil paints. The best bet for
a panel is an untempered hardboard which is sealed front, back,
and edges with gesso to increase stability. (I use untempered
hardboard for my substrate because I like the firm surface for
blending the oils and the ability to create turpentine underpaintings
which blend with the above layers.)

Paper is usually reserved
for watercolor or gouache. It will become brittle and will yellow
with age. However, the new acid-free products have come a long
way and besides, if da Vincis paper drawings still exist,
that is good enough for me.

Watercolors, pastels and
colored pencil paintings should not be varnished, although especially
for pencil, there are sprays which will "seal" the image
to prevent smudging.

Oils and acrylics can be
varnished. There are so many products, many which claim they seal
the art work without causing yellowing. It is a good idea to ask
the artist what he uses as a final sealant and what care should
be taken with this specific product. Matte, semi-gloss, and gloss
finishes can be attained. My preference is for matte or semi-gloss
at the most as a gloss may create too much sheen and obscure the
image from various angles of viewing.

One of the most important questions to ask yourself
when deciding to purchase is, "Will I like this image tomorrow?"
Is there something the artist has captured which is special to
me? Maybe it reminds you of something which has special meaning
or maybe the piece has subtle lighting, a unique perspective or
interaction, or tells an engaging story. The composition might
draw you. Whatever the reason, if the
image gives you joy or ignites your spirit, it is one to consider.

There have been articles
written stating one should never purchase artwork to match the
furniture. I tend to have a more moderate view. If you hope to
enjoy the art tomorrow, there is nothing wrong in having it reflect
your preference for colors, design, and theme. For instance, if
your living room has soft blues and whites, a bright orange piece
while engaging today might have worn out its welcome tomorrow.
On the other hand, if the art "grabs" you and you can
picture it on your wall, diversity in decorating can energize
a room.

It may interest you to know
that many artists have other artists work hanging on their
walls. For me, if I see a piece and I cant get it out of
my mind, that is the deciding factor. That painting or print just
speaks to me. Many Ive had over a decade in the same spot,
and they still move me.

So, "Will you like
this image tomorrow, and does it feel right today?"

Watercolor originals should
be framed and behind glass. Gouache I have seen presented both
behind glass and not, and although I am unsure whether the original
is protected enough without glass, I prefer to see it that way.
The option of UV-protected glass may be something to ask your
framer. Keeping the glass and the frame dusted is always a good
idea.

Acrylic paintings with their
non-porous surface do not need to have glass, and oils should
not be behind glass as they have to breathe. Lightly dusting the
surface is OK and does prevent build-up.

All art should be kept out
of direct sunlight, and in a room where the humidity levels do
not get very high. Fluctuations in temperatures should be kept
to a minimum. In addition, extremely low temperatures will crack
acrylic paintings, so winter shipping should be done with care.

While prints may appreciate in value, I
dont believe they should be considered as an investment
(except as an investment in beauty.) Prints are traded on the
secondary market, but that market does not have one regular outlet
available for trading. Trading is irregular, non-regulated and
the artwork if not framed properly (or cared for properly if unframed)
may have deteriorated and not be in prime condition. One of the
best sources for the current value of prints is INFORMART magazine
but even they admit their information is not all-inclusive.

The safest measure is to purchase a print
because you like it - it moves you. See How do I decide to purchase?
to help you in your decision process.

The term "print" is liberally
used in the marketing of any artwork which is not an original.
There are two main categories of this broad term; limited and
unlimited prints.

Unlimited prints will have no maximum number
of prints. Posters, note cards and the like are usually presented
as unlimited editions.

Limited prints means that the printer is
creating a piece which has a maximum number of pieces printed.
(A small exception to this is a time-edition in which the number
of prints created reflects the exact number of orders received
by a predetermined date. As a note, most time-release editions
exceed the more typical edition sizes preferred today by art buyers.)
Limited prints will generally be signed by the artist and numbered
on each piece. If it is an edition of 750, the first print will
be 1 of 750 (1/750), the remainder sequentially numbered until
the last is numbered 750/750. The publisher should not reissue
this print once the edition is completed. (Note: there is a trend
now to reissue limited edition prints in alternative sizes or
as a canvas edition. It is my belief that this practice violates
the publishers original commitment for the maximum number
in the edition.)

There are several mechanisms employed to
create prints. Off-set lithographs and the newer digital process
are the most prevalent today.

Off-set Lithographs

Off-set lithographs are so named because
the original image is transferred to photo-sensitive plates which
never actually touch the paper. Each image is separated into 4
- 6 color plates and when printed on the paper, the final result
reflects the image. With this approach, 1000's of prints can be
created that are identical. This was a revolution when created
in the 1950's, because before that time, processes were used
in which the final printing of a print would not be as accurate
as the first. For example, silk screens (considered as originals
as they are hand-drawn generally by the artist through very fine
mesh screens) can clog with ink. Wood blocks used to make prints
can have pores filled with ink. The off-set lithograph meant a
whole new world of art collecting was possible. With technology,
the papers and inks have improved, and cost has decreased. Some
disadvantages also arose. During the recent heyday of the off-set
lithographs, some publishers and artists produced huge editions.
With editions exceeding 10,000 or even 50,000, art buyers began
to wonder how limited their edition really was. This led to a
collapse in the print market. Fortunately, publishers of off-set
lithographs have started to put out much smaller editions (under
1000, and some under 450) which now seem to truly have a limited
feel. Another issue which is just starting to come into play is
that the process of using only 4-6 color plates means that there
will be some loss in an accurate translation of every color that
the artist has painted.

Advantages: Affordable price,
Good selection of images

Disadvantages: Sometimes high edition numbers,
Not
best translation of original,
Artist usually unwilling or able to make
a print if only a few interested.

Digital Prints

A digital print is the process of printing
the image from a digitally scanned transparency. The advantage
of this method is a more versatile and accurate color translation
from the original image. This process at first gained a poor reputation
from the short longevity of the inks and paper used. (The original
term for this process was giclee, and the term digital print is
now being used.) Visible fading was evident within a few years
(something that art purchasers did not want.) With the advent
of new technology, the best inks combined with the right paper
have an image life up to twice as long as an off-lithograph. Unfortunately,
not all digital printers are using the latest inks, paper, or
machines, and many artists are not well-versed in the huge disparity
of longevity. The latest research information is available from
Wilhelm Imaging Research, Inc. (The authority in the longevity
testing process for digital printing.)

Advantages: Most accurate color from original
Small editions
Longevity if right ink/paper
Greater selection of images (artist can make a print if only a
few buyers are interested)
Disadvantages: higher cost
Short life if wrong ink/paper

This is a process that will continue to
grow in popularity as art purchasers demand smaller editions,
higher quality of the final print and the greatest longevity.
Before purchasing a digital print, you may wish to ask the artist
the type of paper and ink used and compare it to the Wilhelm Imaging
Research charts.

As a note, I have chosen to use Wilhelm
Imaging Research as a guide to the best inks, paper, canvas and
printers to maximize the life of the print. For more details,
see my Prints or contact me for more specifics.

The type of paper used for the print has
a bearing on the look of a piece and ultimately on its longevity.
(See What type of print for more on longevity.) There is textured
and smooth paper with varying degrees of weight. A new look is
to print off-set lithographs or digital print on canvas. It is
important to note that this technique can cut the life of the
inks. I would imagine in the near future however, that the longevity
on canvas will equal that on paper. There is also a "trendy"
practice of having an artist hand-enhance a print on canvas. A
splotch here or a dab there makes the canvas transfer part original
in some minds. I find this a poor practice as it misleads the
buyer, and the stability of the dab is unknown. An original remarque
is a much more appropriate way to have a touch of the artist on
a print. Some of the remarques I have seen have been particularly
inventive, and all I have seen have added a special dimension
to the piece.

The quality of the ink becomes most important
when referring to the digital print process. Please refer to the
What type of Print for more details.

One of the most important questions to ask
yourself when deciding to purchase is, "Will I like this
image tomorrow?" Is there something the artist has captured
which is special to me? Maybe it reminds you of something which
has special meaning or maybe the piece has subtle lighting, a
unique perspective or interaction, or tells an engaging story.
The composition might draw you. Whatever the reason, if the image
gives you joy or ignites your spirit, it is one to consider.

There have been articles written stating
one should never purchase artwork to match the furniture. I tend
to have a more moderate view. If you hope to enjoy the art tomorrow,
there is nothing wrong in having it reflect your preference for
colors, design, and theme. For instance, if your living room has
soft blues and whites, a bright orange piece while engaging today
might have worn out its welcome tomorrow. On the other hand, if
the art "grabs" you and you can picture it on your wall,
diversity in decorating can energize a room.

It may interest you to know that many artists
have other artists work hanging on their walls. For me,
if I see a piece and I cant get it out of my mind, that
is the deciding factor. That painting or print just speaks to
me. Many Ive had over a decade in the same spot, and they
still move me.

So, "Will you like this image tomorrow,
and does it feel right today?"

Framing is a crucial aspect of a prints
longevity. You should have a framer who uses acid-free matting
and museum quality mounting. Matting with inferior products can
damage the print as the acidity of the mat board interacts with
the images paper and ink.

When it comes to framing, I do have preferences.
Double or triple mats although they add to the cost, seem to bring
out the print and add to the illusion of depth. In addition, I
also believe the frame and matting should compliment the image
rather than solely the room in which it is to be placed. Framing
the artwork the way you want at the outset (even if it costs a
little more) may make the difference in how long you enjoy the
piece and mean you dont have to reframe it at a later date.

There are many excellent framers throughout
the country. Finding one to frame your artwork and building a
relationship with them will serve you best. The framer will know
your preferences and will devote more time and energy to you if
you are a regular and loyal customer. Asking friends for the names
of the framers they use may help you get increased service if
you dont already have a relationship
built with a framing store.

Even if the utmost care has been taken in
purchasing a print with a high quality printing process and museum
quality framing was used, a framed print placed in poor conditions
can be ruined. Direct sunlight interacts with the images
ink and may bleach it or "blue" it. Humid conditions
can promote the growth of mold, subsequently damaging the paper
and frame. Too dry conditions can also make a wood frame shrink
if it was framed in a more humid climate. After all this, what
conditions wont hurt a print? Good prints are actually fairly
durable if framed properly (see Framing) and placed out of direct
sunlight in moderate conditions with the humidity below 50%. If
the print is kept unframed for a period of time, dust is an issue.
A print should, at a minimum, be sealed from dust with a cover
that will not chemically react with the inks. For a collection
of unframed prints, professional print storage cabinets are available
(some even with fancy climate controls) although unless you live
in extreme conditions (the Antarctic or the heart of the Amazon
would qualify) such extremes may not be necessary.